35mm Film
The format that defined documentary photography — 36 frames on a 24 × 36 mm strip.
Twenty-eight pieces of equipment across five stages of the process, from the emulsion in the camera to the box the negatives end up in. Filter by category, stage or keyword.
The format that defined documentary photography — 36 frames on a 24 × 36 mm strip.
A wider negative on a spool, with backing paper instead of a cassette.
One sheet, one image — the slowest and most deliberate way to expose film.
A light-tight metal can with a felt light trap and a spool you can rewind.
A light-tight vessel that lets you develop film in full daylight.
A portable darkroom that folds into a pocket — total darkness anywhere.
The reducing agent that turns exposed silver halide into visible metallic silver.
A dilute acid that halts development in seconds and protects the fixer.
Dissolves the unexposed halide so the image stops changing and can be seen in light.
One drop in the final rinse and the water stops forming droplets on the film.
The diluted, ready-to-use developer — mixed once, used once, poured away.
A washing aid that swaps the fixer out of the emulsion so the wash can finish the job.
The dim coloured light that lets you see your hands without fogging the paper.
A shallow ribbed tray that holds one bath and one sheet of paper at a time.
Development time is meaningless without temperature — this is the instrument that makes it mean something.
An enlarging timer with a foot switch — because your hands are always wet.
Weighted stainless clips that hold a wet strip straight while it dries.
Accurate volumes are the difference between a repeatable process and a guess.
A vertical projector that turns a small negative into a large print.
A flat-field lens optimised for close working distances and even illumination.
Resin-coated or fibre — the two papers behave completely differently in the tray.
A magnifying scope that lets you focus on the grain instead of guessing.
Adjustable masking blades that hold the paper flat and set the print borders.
A tank that keeps fresh water moving past every print until the fixer is gone.
Fibre prints curl as they dry — a dryer flattens them without cooking the emulsion.
Inert plastic that holds a negative without touching the emulsion.
Lignin-free board that will not slowly acidify the negatives inside it.
Carbon-fibre bristles that neutralise static and lift dust off a negative.
The 3D Studio walks through loading film, running a tank, focusing an enlarger and placing tones on the zone scale — interactively, in your browser.